Abstract
Through the use of an epigraph from The Unnamable and repeated echoes in Dead Voices , Vizenor established a relation to Beckett’s work. This paper traces the influence of Beckett in Vizenor and questions how Vizenor reads Beckett, particularly in political and postcolonial terms. Rather than the prevailing view that Beckett is an apolitical and ahistorical writer, the relation with Vizenor hinges on a postmodern and postcolonial awareness of the dangers of imposed and restrictive identities. This awareness finds expression in both authors as both an aesthetic and political concern. It is argued that both authors seek to undo all forms of rigid identity within the works in an attempt to maintain a fluidity which might inform attempts at continuance and resistance. However, as can be seen in the wanaki game of Dead Voices , Vizenor’s sense of fluid identity is implicated in a communal “we”, whereas Beckett’s solitary voice in The Unnamable eschews any form of community, thus leading one to question the efficacy of Vizenor’s position. Nevertheless, the paper argues that Vizenor’s deployment of Beckett reveals that both authors adopt a committed political stance at the most fundamental aesthetic levels of the novel form.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.